Dr. theol. Maximilian Gigl -- Dem Himmel Raum geben.
“ ’Giving heaven space‘ - New art for homes and ecclesiastic spaces” (EXCERPT)
by Dr theol. Maximilian Gigl
2. Art in public ecclesiastic spaces and private rooms
Sacred art can be encountered – in special ways – in ecclesiastic, sacred spaces, but not only there. One of the earliest examples of this is the oldest archaeologically proven ‚church‘ in the ancient city of Dura-Europos on the Euphrates river, in today‘s Syria: a former private residence was partly remodeled as a church and baptistry and the walls decorated with biblical scenes after about 232 AD (cf.Peppard 2016).
What is worth noting is that, at the latest by the time freedom of worship was granted in the course of the Constantinian shift, ecclesiastic buildings were deemed public buildings. This is of fundamental importance in terms of liturgical theology: even though every Christian may – and is encouraged to – pray individually‚ behind closed doors‘ (cf. Mt 6:6), „liturgical actions are not private actions but celebrations of the Church itself“ (c. 837 § 1 CIC/1983). The liturgy is „public worship“ (SC 7; cultus Dei, c. 834). This gives the building itself a public and official character. ….
2.1. On the design of sacred spaces
When we speak of ‚ecclesiastic sacred spaces‘, this refers, within the meaning of canon law, to churches, chapels, or any other space containing an altar. In a legal sense, the altar is the defining element of a sacred space (cc. 1235–1239).2 Canon law does not require any other ecclesiastic furniture or other equipment. Etymologically, the term altar (from the Latin word altare, which probably originates from the word adolere –
‚to burn‘) describes a place where sacrifices in pagan antiquity were burned (cf. Adam 1984:93). To celebrate the Eucharist, a table for placing bread and wine was necessary; Paul referred to „the Lord‘s table“ (cf. 1 Cor. 10:21). Whenever a church is consecrated, the consecration of the altar has a special place within the whole consecration ceremony. The altar is also the only part of the church for which the material of which it is made plays a role: according to ancient ecclesiastic tradition, it was made out of natural stone.3 Over the middle ages, the custom of placing candles, the altar cross, and images on the altar was established, which, by the late middle ages, eventually led to the altar at times appearingto be a mere substructure for the retable or altarpiece. In consequence, it was suggested to speak of „art in the chancel“ instead (Gerhards/Wintz 2017: 440)
2.3. New sacred art: A spatial perspective
To heighten one‘s awareness for the importance of sacred art and sacred spaces, the concept of spatial sociology proposed by the German sociologist Martina Löw can be helpful. According to this concept, ‚space‘ is not merely to be understood in its function as a ‚repository‘ or ‚container‘, but regarded as a structure of the relations between the goods, people and actions or communication (Löw 2001) in it. In other words, a space is not only defined by the walls that demarcate its outer limits, but by the relationships between the walls, other objects, people, and the beholder. This makes it clear that the items in sacred spaces are only one component – albeit a significant and indispensable one – of these relations, and can make a room a liturgical space or a space for prayer even when they are reduced to a minimum. This perspective always considers that images placed in a space and the design of the space encourage and aid liturgical celebrations, without precluding in any way that any given sacred room may contain several different ‚spaces‘, for instance if some of the people inside it are using it to celebrate mass, others to light a candle, and others again are only visiting it as a tourist. This approach is a good explanation for the significance of sacred art in private rooms: a work of sacred art – or even just a crucifix inside a room– is one component of the spatial relations in a home. It can add a spiritual dimension to a space, even if it only does so for the moment of a passing glance.
Opening up a space within a person
Generally, sacrality is defined as what leads towards holiness. In other words, it is about opening up an ‚inner space‘ in a person, in which the presence of heaven can be experienced. Romano Guardini did not tire of reminding us that entering a church or the performance of liturgical acts should always resonate within a person. „Listen to his call. What point is there in a house made of wood and stone if you are not a living
house of God yourself? What point is there in a portal arching high, heavy doors opening, but inside, there is no gate through which the Lord of glory may enter?“ (Guardini 1922/1927: 25, own translation). ….
4. Outlook: ‚Giving heaven space‘
Christian art serves the purpose of orientation towards holiness. This is why the Liturgical Constitutions of the second Vatican Council describe them as „signs and symbols of the supernatural world“ (SC 122) … What is needed, consequently, are solutions of good quality for ecclesiastic sacred spaces that strike the right balance between the existing inventory, the liturgical function, and an artistic approach. Equally, sacred art needs to be attractive and have great reach in order to benefit from its ‚evangelising‘ quality. In conclusion, sacred art is aimed creating a space for heaven, so that people can make room for heaven in their own lives.
by Dr theol. Maximilian Gigl
2. Art in public ecclesiastic spaces and private rooms
Sacred art can be encountered – in special ways – in ecclesiastic, sacred spaces, but not only there. One of the earliest examples of this is the oldest archaeologically proven ‚church‘ in the ancient city of Dura-Europos on the Euphrates river, in today‘s Syria: a former private residence was partly remodeled as a church and baptistry and the walls decorated with biblical scenes after about 232 AD (cf.Peppard 2016).
What is worth noting is that, at the latest by the time freedom of worship was granted in the course of the Constantinian shift, ecclesiastic buildings were deemed public buildings. This is of fundamental importance in terms of liturgical theology: even though every Christian may – and is encouraged to – pray individually‚ behind closed doors‘ (cf. Mt 6:6), „liturgical actions are not private actions but celebrations of the Church itself“ (c. 837 § 1 CIC/1983). The liturgy is „public worship“ (SC 7; cultus Dei, c. 834). This gives the building itself a public and official character. ….
2.1. On the design of sacred spaces
When we speak of ‚ecclesiastic sacred spaces‘, this refers, within the meaning of canon law, to churches, chapels, or any other space containing an altar. In a legal sense, the altar is the defining element of a sacred space (cc. 1235–1239).2 Canon law does not require any other ecclesiastic furniture or other equipment. Etymologically, the term altar (from the Latin word altare, which probably originates from the word adolere –
‚to burn‘) describes a place where sacrifices in pagan antiquity were burned (cf. Adam 1984:93). To celebrate the Eucharist, a table for placing bread and wine was necessary; Paul referred to „the Lord‘s table“ (cf. 1 Cor. 10:21). Whenever a church is consecrated, the consecration of the altar has a special place within the whole consecration ceremony. The altar is also the only part of the church for which the material of which it is made plays a role: according to ancient ecclesiastic tradition, it was made out of natural stone.3 Over the middle ages, the custom of placing candles, the altar cross, and images on the altar was established, which, by the late middle ages, eventually led to the altar at times appearingto be a mere substructure for the retable or altarpiece. In consequence, it was suggested to speak of „art in the chancel“ instead (Gerhards/Wintz 2017: 440)
2.3. New sacred art: A spatial perspective
To heighten one‘s awareness for the importance of sacred art and sacred spaces, the concept of spatial sociology proposed by the German sociologist Martina Löw can be helpful. According to this concept, ‚space‘ is not merely to be understood in its function as a ‚repository‘ or ‚container‘, but regarded as a structure of the relations between the goods, people and actions or communication (Löw 2001) in it. In other words, a space is not only defined by the walls that demarcate its outer limits, but by the relationships between the walls, other objects, people, and the beholder. This makes it clear that the items in sacred spaces are only one component – albeit a significant and indispensable one – of these relations, and can make a room a liturgical space or a space for prayer even when they are reduced to a minimum. This perspective always considers that images placed in a space and the design of the space encourage and aid liturgical celebrations, without precluding in any way that any given sacred room may contain several different ‚spaces‘, for instance if some of the people inside it are using it to celebrate mass, others to light a candle, and others again are only visiting it as a tourist. This approach is a good explanation for the significance of sacred art in private rooms: a work of sacred art – or even just a crucifix inside a room– is one component of the spatial relations in a home. It can add a spiritual dimension to a space, even if it only does so for the moment of a passing glance.
Opening up a space within a person
Generally, sacrality is defined as what leads towards holiness. In other words, it is about opening up an ‚inner space‘ in a person, in which the presence of heaven can be experienced. Romano Guardini did not tire of reminding us that entering a church or the performance of liturgical acts should always resonate within a person. „Listen to his call. What point is there in a house made of wood and stone if you are not a living
house of God yourself? What point is there in a portal arching high, heavy doors opening, but inside, there is no gate through which the Lord of glory may enter?“ (Guardini 1922/1927: 25, own translation). ….
4. Outlook: ‚Giving heaven space‘
Christian art serves the purpose of orientation towards holiness. This is why the Liturgical Constitutions of the second Vatican Council describe them as „signs and symbols of the supernatural world“ (SC 122) … What is needed, consequently, are solutions of good quality for ecclesiastic sacred spaces that strike the right balance between the existing inventory, the liturgical function, and an artistic approach. Equally, sacred art needs to be attractive and have great reach in order to benefit from its ‚evangelising‘ quality. In conclusion, sacred art is aimed creating a space for heaven, so that people can make room for heaven in their own lives.
